- Title Pages
- Dedication
- Epigraph
- Abbreviations
- Figures
- Acknowledgments
- 1 Introduction
- 2 Interlude
- 3 Born in Africa (1990)
- 4 Tears Run Dry
- 5 Singing in the Shadow of Death
- 6 Music, HIV/AIDS, and Social Change in Nairobi, Kenya
- 7 Interlude
- 8 Using Music to Combat AIDS and Other Public Health Issues in Malawi
- 9 Visual Approaches to HIV Literacy in South Africa
- 10 Ngoma Dialogue Circles (Ngoma-Dice)
- 11 Interlude
- 12 HIV/AIDS Poster Campaigns in Malawi<sup>1</sup>
- 13 Contemporary Uses of the Musical Arts in Botswana’s HIV/AIDS Health Education Initiatives
- 14 “We Are the Loudmouthed HIV-Positive People”
- 15 “C’est Le Wake Up! Africa”
- 16 Singing Songs of AIDS in Venda, South Africa
- 17 Interlude
- 18 Aesthetics and Activism
- 19 A Lady Who is an Akadongo Player
- 20 “What Shall We Do?”
- 21 Swahili AIDS Plays
- 22 Confronting AIDS through Popular Music Cultures in Kenya
- 23 Interlude
- 24 Siphithemba—We Give Hope
- 25 Young and Wise in Accra, Ghana
- 26 Singing as Social Order
- 27 “I’m a Rich Man, How Can I Die?”
- 28 Interlude
- 29 <i>Kwaito</i> and the Culture of AIDS in South Africa
- 30 Positive Disturbance
- 31 “EdzI Ndi Dolo” (“AIDS is Mighty”)
- 32 Representing HIV/AIDS in Africa
- 33 Postlude
- About the Authors
- References
- Index
Born in Africa (1990)
Born in Africa (1990)
Documentary Transcript
- Chapter:
- (p.35) 3 Born in Africa (1990)
- Source:
- The Culture of AIDS in Africa
- Author(s):
John Zaritsky
Virginia Storring
Judah M. Cohen
- Publisher:
- Oxford University Press
This chapter presents a transcript of John Zaritsky’s 1990 film Born In Africa, the first extended documentary report exploring expressive culture and HIV/AIDS in Africa. Born In Africa chronicles the final tour of Philly Lutaaya, a popular singer from Uganda, whose song “Alone” became an anthem for many within the Ugandan AIDS care community. Lutaaya himself became recognized as the first Ugandan of any significant status to declare himself HIV positive. The transcript offers early insight into the poetics of observation of HIV/AIDS, focusing on how the restrictions and caution exercised on the film crew by the only sub-Saharan African government to acknowledge an AIDS crisis at the time might affect what we see. In this way, Zaritsky’s work offers a window into a relatively nascent network of HIV/AIDS-based non-governmental organizations; of early attempts to “sing” the disease in Africa; and of the role of international health initiatives in addressing local HIV/AIDS agendas.
Keywords: film, John Zaritsky, Born In Africa, documentary, expressive culture, HIV/AIDS, Africa, Philly Lutaaya, Uganda, non-governmental organizations
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- Title Pages
- Dedication
- Epigraph
- Abbreviations
- Figures
- Acknowledgments
- 1 Introduction
- 2 Interlude
- 3 Born in Africa (1990)
- 4 Tears Run Dry
- 5 Singing in the Shadow of Death
- 6 Music, HIV/AIDS, and Social Change in Nairobi, Kenya
- 7 Interlude
- 8 Using Music to Combat AIDS and Other Public Health Issues in Malawi
- 9 Visual Approaches to HIV Literacy in South Africa
- 10 Ngoma Dialogue Circles (Ngoma-Dice)
- 11 Interlude
- 12 HIV/AIDS Poster Campaigns in Malawi<sup>1</sup>
- 13 Contemporary Uses of the Musical Arts in Botswana’s HIV/AIDS Health Education Initiatives
- 14 “We Are the Loudmouthed HIV-Positive People”
- 15 “C’est Le Wake Up! Africa”
- 16 Singing Songs of AIDS in Venda, South Africa
- 17 Interlude
- 18 Aesthetics and Activism
- 19 A Lady Who is an Akadongo Player
- 20 “What Shall We Do?”
- 21 Swahili AIDS Plays
- 22 Confronting AIDS through Popular Music Cultures in Kenya
- 23 Interlude
- 24 Siphithemba—We Give Hope
- 25 Young and Wise in Accra, Ghana
- 26 Singing as Social Order
- 27 “I’m a Rich Man, How Can I Die?”
- 28 Interlude
- 29 <i>Kwaito</i> and the Culture of AIDS in South Africa
- 30 Positive Disturbance
- 31 “EdzI Ndi Dolo” (“AIDS is Mighty”)
- 32 Representing HIV/AIDS in Africa
- 33 Postlude
- About the Authors
- References
- Index
